No mission statement? Soundscapes is an online journal on the history and social significance of media culture. That's all. No, this journal has no mission statement, nor does it have a corporate identity. It is non-profit and educational. In short, it's just an academic journal that likes to talk back to the load of fleeting media messages that are overflowing all of us on a daily base. What are these things doing to us and what are we doing with them ourselves? It is this question that, one way or another, all of our essays try to address by informing their readers about radio programs, television series, popular music, styles of presentation and representation, and all that's related to the sounds and images of media culture. If you also like to talk back to the media with comments or contributions of your own, please mail them to the editors.
http://www.icce.rug.nl/oger-bin/contents/authors.cgi Author Index
Beatles Studies —
Comics and Cartoons —
History of Radio and Television —
Local and Global Radio —
Offshore Radio Stations —
Popular Music Studies —
Rock Song Anatomy —
Studies in Photography —
Theory and Methodology —
http://www.icce.rug.nl/oger-bin/contents/dossiers.cgi?05 Theory and methodology Collected essays on theory and methodology in media studies
Editor: Henk Kleijer
Volume 12 / 2009-2010
http://www.icce.rug.nl/~soundscapes/VOLUME12/Interview_McGrath.shtml Liverpool's black community and the Beatles (january 2010). James McGrath recently submitted his PhD research on the work of John Lennon and Paul McCartney. In October last year he spoke on Upfront, a programme aired by BBC Radio Merseyside, about his findings on the Beatles' various and often overlooked links with Liverpool's black community in the years from 1958 to 1962. For our journal the editors repeated the event, asking him the same questions while waiting for some more extended answers.
Volume 9 / 2006-2007
http://www.icce.rug.nl/~soundscapes/VOLUME09/Locked_into_the_Hotel_California.shtml Locked into the Hotel California (october 2006). The Eagles' song "Hotel California" is built upon seven simple chords. The way in which these chords combine, though, is rather complex. Interpreting the music of this song seems as difficult as decoding its lyrics. Ger Tillekens here analyses the basic chord pattern as an expanded Spanish progression that gives the song its Spanish feel and acts as to keep it locked into the moment.
A flood of flat-sevenths (june 2006). According to many pop-musicologists the flat-seventh chord, or subtonic, can be regarded as one of the marks of the Beatles' experimental period. On the Beatles' 1966 album Revolver this chord is paired to a lavish use of quartal harmonies. Is this peculiar chord responsible for the album's atmosphere? Answering this question, Ger Tillekens here takes a closer look at the flat-seventh.
Volume 8 / 2005-2006
http://www.icce.rug.nl/~soundscapes/VOLUME08/The_four_dimensions_of_popular_music.shtml The four dimensions of popular music (july 2005). Over the past year Ger Tillekens and Juul Mulder have tried to get a grasp on the shifting music prefences of secondary and primary school pupils. In the summer of 2005, they presented a paper on this subject on the 13th biennial conference "Making Music, Making Meaning" of the International Association for the Study of Popular Music (IASPM) in Rome. The paper shows the results of their analyses of some large datasets covering the 1980s and 1990s up to 2001.
Volume 5 / 2002-2003
http://www.icce.rug.nl/~soundscapes/VOLUME05/Dorian_family.shtml Marks of the Dorian family (november 2002). "Drunken Sailor" and "Scarborough Fair": both songs have the feel of shifting between two keys. Introducing the concept of the Dorian twin tone system, Ger Tillekens here discusses the family traits of these traditionals.
Volume 4 / 2001-2002
http://www.icce.rug.nl/~soundscapes/VOLUME04/One_continent.shtml One continent under a groove (november 2001). The outer-national identifications and trans-local collectivities of dance culture force us to rethink the theoretical concepts and approaches of cultural studies. But, how? Exploring this question, Ben Carrington and Brian Wilson here take us on a short trip from Chicago to Birmingham and beyond, trying to reformulate the problematic of the "local" and the "global".